With her latest feature, Gallic filmmaker Valérie Donzelli proves that fiction might be stranger than truth – but only just. The “Declaration of War” director was putting the finishing touches on h…
With her latest feature, Gallic filmmaker Valérie Donzelli proves that fiction might be stranger than truth – but only just. The “Declaration of War” director was putting the finishing touches on her latest whimsical exploration of Parisian life – about an architect tasked with redesigning the
Watching the film after the fire, I was deeply moved to see the cathedral in its former state. It lent the film an extra bit of melancholy, or it amplified what was already there. The film focuses on both a place and a person, and it asks, “How do you rebuild your life when facing setbacks and failures? How do you move forward?” Those are the themes of the film, and those were the same questions people asking as the fire became a worldwide media event.
The film is very fast paced, with many gags and punchlines that whiz on by. As a filmmaker, was it difficult to manage that up-tempo tone while simultaneously anchoring nearly every scene as the film’s lead actress? The film mixes poetic flights with elements from your own life, alongside several musical/fantastical interludes that often arrive at unexpected spots. How far in advance did you work out the film’s very unconventional structure?
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